Research

American Musicological Society, November 2023. This paper shows how Darius Milhaud’s Les Six contemporaries incorporated his style of dissonant polytonality into their own compositions, which gave the group a semblance of aesthetic coherence while simultaneously painting the target of antisemitism on their backs. After the First World War, Jean Cocteau called for music to be rebuilt in a way that is “French, of France.” In response, Milhaud devised a compositional style that uses the musical resources of the French Baroque and Classic periods in pursuit of the sound of modernist alienation....

American Musicological Society, 12 November 2022. The idea that music is inherently unique or non-representational among the arts is experiencing a renaissance, instigated by the recent ontological and materialist turns. Abbate (2005, 2018) and Gallope (2017) extol music’s ineffability, while Brown (2019) praises music for creating meaning outside the framework of capitalism. These issues coagulate around the idea of music’s aesthetic autonomy, which appears to point toward a more relativist way of understanding music....

19th-Century Music 45, no. 3 (Summer 2022): 204–219. doi:10.1525/ncm.2022.45.3.204. Mapping out several interpretations of free play in Immanuel Kant’s Third Critique helps parse the argument that “music is ineffable.” Although the argument is an old one, recent scholarship by Carolyn Abbate, Michael Gallope, and others has helped the idea of music’s ineffability resurface in recent years as a special, dialectical property of music’s sonic presence that perpetually defers statements about music’s meaning....

International Musicological Society, Athens, Greece, August 2022. American Musicological Society, 12 November 2021. Music—Musicology—Interpretation, University of the Arts, Belgrade, Serbia, 21 October 2021. This paper interprets the rise of topic theory during the last several decades as a reaction to criticisms of musical analysis. The New Musicology moment challenged analysis’s involvement with musical autonomy (Wolff 1987), organicism (Street 1989), and structural processes (McClary 1986, 1991), primarily by unearthing their socio-political contexts (Savage 2010)....

Society for Music Theory, 4 November 2021. This paper analyzes three types of dissonant structural combinations in Darius Milhaud’s string quartets: juxtapositions of harmonies, of discrete tonal melodies, and of formal plans. None of the most thorough analytical studies of Milhaud’s work—Paul Cherry (1980), Jeremy Drake (1989), Deborah Mawer (1997), Barbara Kelly (2003)—explore combination as an overarching technique. Yet scrutinizing the quartets shows how Milhaud conjoined progressively larger tonal structures throughout his life—first chords, then melodies, later forms—seeking a uniquely French style of dissonance, rooted in the tonal tradition....

Western University of Ontario, Annual Graduate Symposium, 17 August 2019. Lately, the notion of ineffability has enjoyed renewed attention in the musical studies community, thanks in part to Carolyn Abbate’s 2018 SMT keynote address. In a famous 2004 article, Abbate opposed ineffability to the practice of hermeneutic (“gnostic”) interpretation, which to her seemed insufficient to capture any “drastic” experience of music itself. Over the years, this reversal of the traditional mind-over-matter hierarchy has been attractive because it seems to free music from being perpetually explained by a hegemonic, all-knowing, Cartesian subject....

Music and Philosophy Study Group, Royal Musical Association, 12 July 2019. This paper performs an archaeology of the critical musicology moment, suggesting that its tacit project of undermining musical autonomy remains unfinished because the historicity of absolute music has not yet ended. In his review of Joseph Kerman’s Contemplating Music, Leo Treitler gave a prophetic warning: “Kerman’s book can in the long run reinforce the unwholesome tendencies that worry him.” While Kerman’s original foil was “positivist musicology,” battle lines were drawn when American theorists perceived the book as an attack on their newly minted Society....

Spectralisms, IRCAM, 13 June 2018. Post-1945 Music Analysis Interest Group, Society for Music Theory, 8 November 2019. This paper illustrates how three of Gérard Grisey’s essays—“Réflexions sur le temps,” “La Musique: le devenir des sons,” and “Tempus ex machina”—accord with Henri Bergson, Gilles Deleuze, and Jean-Jacques Nattiez on the structure of perception. Instead of purporting to prove direct influence, exploring their common ground clarifies and elaborates three central issues in Grisey’s writings: (1) the differentiation of time and how it casts music as a process of becoming; (2) the identification of tone with pulse on a spectrum of contraction and dilation; and (3) how Grisey’s later three-part theory of musical perception relates to his early distinction between measured and perceived time....

Society for Music Theory, 10 November 2017. This paper offers a narrative account of Darius Milhaud’s cantata Le Château du feu and draws from the writings of Ludwig Wittgenstein, Gilles Deleuze, and Lawrence Kramer in order to critique the epistemological relation of description to music’s ontologies. The Lacanian notion that knowledge is mediated by language hearkens to Nietzsche, and fortifies Kramer’s assertion that “there is no such thing as music”—or, no such transcendental category....

Boyer College Graduand Student Forum, 24 April 2016. This paper investigates the phenomenological model of subjectivity that undergirds the theoretical descriptions of melody, harmony, and form in G. W. F. Hegel’s Aesthetics. While scholars such as Philip Alperson and Martin Donougho have denounced the Aesthetics for uninformedly devaluing instrumental music, the text’s explicit references to instrumental sonata form provide evidence to the contrary. For Hegel, music “sounds out” the subject, reverberating within the catacombs of the mind to illuminate the depths of the inner self....